BEETHOVEN Fidelio (Highlights) Nielsen • Winbergh • Moll • Titus • Lienbacher • Pecoraro Hungarian Radio Chorus • Nicolaus Esterházy Sinfonia Michael Halász

Home , Alan Titus, Inga Nielsen, Kurt Moll, Pierre Gaveaux

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Also available is the complete opera recording: BEETHOVEN Fidelio (Highlights) Nielsen • Winbergh • Moll • Titus • Lienbacher • Pecoraro Hungarian Radio Chorus • Nicolaus Esterházy Sinfonia Michael Halász

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Ludwig van Hungarian Radio Chorus The Hungarian Radio Chorus was established in 1950 to perform both unaccompanied and orchestral choral works. BEETHOVEN Since its foundation the chorus has given first performances of a number of specially written works and has made (1770-1827) guest appearances at the Festivals in Bayreuth, Edinburgh and Salzburg. The chorus has worked with renowned conductors, such as Doráti, Masur, Sacher and Menuhin, and with Solti, who conducted the chorus in a number of Fidelio (Highlights) highly successful concerts with the Berlin Philharmonic Orchestra. The chorus has made over eighty recordings, Opera in Two Acts including the acclaimed Naxos recording of Il barbiere di Siviglia (8.660027-29).

Nicolaus Esterházy Sinfonia The Nicolaus Esterházy Sinfonia was formed in 1992 from members of the Hungarian State Symphony Orchestra Don Fernando, the King’s Minister ...... Wolfgang Glashof, Bass by Ibolya Tóth, of the Hungarian Phoenix Studio. The Sinfonia has among its musicians the principal wind-players Don Pizarro, Governor of the Prison ...... Alan Titus, Baritone of the Symphony Orchestra, many of whom have already recorded concertos for Naxos. The conductor of the Florestan, a prisoner ...... Gösta Winbergh,Tenor Sinfonia is the flautist Béla Drahos. Leonore, his wife, in male attire as Fidelio ...... Inga Nielsen, Soprano Rocco, Chief Jailer ...... Kurt Moll, Bass Marzelline, his daughter ...... Edith Lienbacher, Soprano Michael Halász Jaquino, assistant to Rocco ...... Herwig Pecoraro, Tenor Michael Halász began his career as a conductor at the Munich Gärtnerplatz Theater, where he directed all operetta productions between 1972 and 1975. In 1975 he moved to Frankfurt as Principal Conductor under Christoph von First Prisoner ...... Péter Pálinkás, Tenor Dohnányi, working with the most distinguished singers and conducting all the important works of operatic Second Prisoner ...... József Moldvay, Bass repertoire. Engagements as a guest-conductor followed at the Deutsche Oper Berlin, State Opera Hamburg and in Turin, and in 1977 Dohnányi brought him to the Hamburg State Opera as Principal Conductor. From 1978 to 1991 he was General Music Director of the Hagen Opera House. During this time he made guest appearances in the major opera houses of Germany, including Hamburg, Berlin, Frankfurt, Düsseldorf, Stuttgart and Munich. In 1991 he took up the post of Resident Conductor of the Vienna State Opera. In the past fifteen years he has conducted concerts all over the world and made over thirty recordings. Since 1995 he has made several guest appearances with the ABC Hungarian Radio Chorus (Chorus Master: Kálmán Strausz) orchestras in Australia. Nicholaus Esterházy Sinfonia Michael Halász

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Edith Lienbacher Ludwig van Beethoven (1770–1827) Edith Lienbacher was born in Kärnten and studied at the Conservatory in Klagenfurt before continuing her studies Fidelio (Highlights) with Hilde Rössl-Majdan at the Vienna Musikhochschule. In 1984 she won the Richard Tauber Competition in London and the following year was engaged at the Vienna Volksoper. Since 1989 she has been a member of the Vienna Staatsoper in repertoire that includes Mozart and many of the great operetta rôles. She has won critical 1 Overture 6:25 acclaim for her appearances at major international festivals and in the great opera houses of the world. She is equally at home as a Lieder and concert singer. In 1999 she was honoured with the title Kammersängerin. Act I 2 Aria: O wär’ ich schon mit dir vereint (Marzelline) 3:55 Alan Titus 3 Quartet: Mir ist so wunderbar (Marzelline, Leonore, Rocco, Jaquino) 4:49 Alan Titus was born in New York and studied at the Juilliard School. He made his début at the Washington Opera 4 Aria: Hat man nicht auch Gold beineben (Rocco) 2:55 and has appeared at all the leading houses in the United States and Europe. He is a regular guest at the Munich State 5 March 2:22 Opera, winning acclaim for performances as Olivier in Capriccio, Guglielmo in Così fan tutte and in the title-rôles 6 Aria and Chorus: Ha! Welch ein Augenblick! (Pizarro, the Watch) 3:15 in Le nozze di Figaro and Hindemith’s Cardillac. He subsequently made his La Scala début as Mandryka in a new 7 production of Arabella. Awards include Singer of the Year from the magazine Opernwelt and the title of Recitative and Aria: Abscheulicher! Wo eilst du hin? (Leonore) 7:29 Kammersänger from the Munich State Opera. Alan Titus is a frequent recitalist and concert singer and his recordings 8 Finale: O welche Lust (Chorus of Prisoners) 7:04 include Le nozze di Figaro and Falstaff with Sir Colin Davis and Don Giovanni with Rafael Kubelík.

Act II Wolfgang Glashof 9 Introduction and Aria: Gott! Welch’ Dunkel hier! (Florestan) 10:50 Wolfgang Glashof was born in 1957. He studied medicine before studying singing at the Conservatory in 0 Quartet: Er sterbe! (Pizarro, Florestan, Leonore, Rocco) 5:12 Nuremburg. He began his professional career at the National Theatre in Mannheim and enjoyed a number of ! engagements at opera houses in Düsseldorf, Berlin and Vienna in rôles such as Figaro in Il barbiere di Siviglia and Duet: O namenlose Freude! (Leonore, Florestan) 2:45 Danilo in Die lustige Witwe. Wolfgang Glashof has appeared as a concert soloist and recitalist throughout Europe. @ Finale: Heil! Heil sei dem Tag! (People and Prisoners) 2:07 # Des besten Königs Wink und Wille 7:54 (Don Fernando, People and Prisoners, Rocco, Pizarro, Leonore, Marzelline, Florestan) Herwig Pecoraro $ Wer ein holdes Weib errungen 4:03 Born in 1957, Herwig Pecoraro studied at the Conservatory in Vorarlberg and in Modena, during which time he took (People and Prisoners, Florestan, Leonore, Marzelline, Jaquino, Rocco, Don Fernando) part in master-classes with Elisabeth Schwarzkopf. He has appeared at major opera houses throughout the world, including those in Milan, Paris, Vienna and Los Angeles and has taken part in the Salzburg and Bregenz festivals in addition to radio and television appearances. Since 1991 Herwig Pecoraro has been a member of the Vienna Staatsoper.

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Ludwig van Beethoven (1770–1827) Inga Nielsen Fidelio (Highlights) Born in Denmark, Inga Nielsen studied in Vienna, Stuttgart and Budapest. She began her career at opera houses in Germany and Switzerland and was later engaged by the Opera in Frankfurt. She now appears at leading opera houses The son of a singer and grandson of a former choice of libretto was undoubtedly influenced by the throughout the world, including the Vienna State Opera, La Scala, Milan and Covent Garden, and has sung at the Kapellmeister in the service of the Archbishop-Elector success in Vienna of Cherubini’s opera Les deux festivals in Bayreuth, Salzburg, Vienna, Munich, Aix-en-Provence and Edinburgh. Inga Nielsen often appears as a of Cologne at his court in Bonn, Beethoven became journées (The Two Days), known in English as The concert soloist and on radio and television and has made numerous recordings. In 1994 she enjoyed formidable familiar, even as a boy, with theatrical repertoire. In Water Carrier, again based on a libretto by Bouilly, a success as Salome in Leipzig, and as the Marschallin in Der Rosenkavalier at the Royal Danish Opera in 1782 his teacher Neefe used him as his deputy, ‘rescue’ opera suggested by an incident in the French Copenhagen. Recent notable successes have included the rôle of the Empress in Die Frau ohne Schatten at La Scala, employed in rehearsals of theatre music. In subsequent revolutionary Reign of Terror. Milan, with Sinopoli and a number of Wagnerian rôles. In 1992 Inga Nielsen was honoured by Queen Margarethe years in Bonn he became familiar with a wide operatic Beethoven’s opera, under the title Fidelio, insisted of Denmark with the Order of the Dannebrog. repertoire, further extended by the variety of works that on by the theatre to avoid confusion with the Léonore he heard in Vienna, after he had settled there in 1792. of Gaveaux or the Leonora of Paër, was staged with In Bonn Beethoven had contributed music for limited success in Vienna in November 1805, Gösta Winbergh Count Waldstein’s Ritterballett of 1791. Ten years introduced by the second of the four different overtures Gösta Winbergh studied at the Opera Conservatory in Stockholm and made his début in 1973 in Gothenburg, after later he provided a score in Vienna for the ballet Die eventually written for the work. There were only three which he became a member of the Royal Opera in Stockholm, where his rôles included Don Ottavio, Count Geschöpfe des Prometheus (The Creatures of performances of this first version, mounted at a time Almaviva, Tamino, Nemorino and Rodolfo. Since 1981, he has been a member of the Zurich Opera, singing many Prometheus) by Salvatore Viganò. Although he wrote when Vienna was occupied by the French and many of of the major Mozart rôles, often in productions staged by Jean-Pierre Ponnelle and conducted by Nikolaus arias for use in operas by other composers, it was not the composer’s supporters had taken refuge elsewhere. Harnoncourt. Winbergh now appears at the major opera houses and festivals throughout the world. In recent seasons until 1804 that he started work on what was to be his Beethoven was induced to shorten the opera, with a he has been appearing with great success in Wagnerian tenor rôles, including Walther in Die Meistersinger in Berlin only opera, Fidelio. In 1798 the French writer Jean- libretto now revised by Stephan von Breuning. This and at Covent Garden and Erik in Der fliegende Holländer in Venice. An artist with numerous recordings to his Nicolas Bouilly’s Léonore, ou L’amour conjugale version was staged the following year on 29th March credit, Winbergh is also a highly regarded concert soloist and recitalist. (Leonora, or Conjugal Love) had been staged with and 10th April, this time with the third of the Leonore music by the singer and composer Pierre Gaveaux. The overtures, the best known in concert performance. It plot was topical, dealing as it did, with unjust was then withdrawn, apparently through Beethoven’s Kurt Moll imprisonment and the rescue of a prisoner through the dissatisfaction either with the performance or the Kurt Moll studied at the Cologne Musikhochschule. He gained his first professional experience at provincial opera bravery of his loyal wife. The opera enjoyed success in financial results. It was not until 1814, after further houses in Aachen, Mainz and Wuppertal before being engaged by the Staatsoper in Hamburg in 1970. In the same Paris, and a similar reception was accorded Ferdinando revision and changes in the libretto by Georg Friedrich year he made his début at the Salzburg Festival as Sarastro. He now appears at all the leading opera houses, Paër’s Italian version staged in Dresden in 1804. Treitschke, an actor who had quickly risen in 1802 to including La Scala, Milan, Covent Garden, and the Metropolitan Opera, New York. He is a frequent visitor to the Bouilly’s libretto was translated into German by the position of poet and stage-manager of the German Bayreuth and Salzburg festivals and is in much demand as a recitalist and concert singer. He has made over 100 Joseph von Sonnleithner, who was appointed Secretary Court Theatre, that Fidelio was again staged in Vienna. recordings and won numerous prizes, including the prestigious title of Kammersänger from no less than three opera to the Court Theatre in February 1804 and had been The Fidelio overture was not ready for the first houses. In 1992 he was appointed professor at the Cologne Musikhochschule. given the temporary position of director of the Theater- performance on 23rd May but was available for the an-der-Wien, replacing the actor-manager Emanuel second performance, three days later. It is in this final Schikaneder, author of the libretto of Mozart’s Die revision, with the new overture, that the opera Fidelio Zauberflöte (The Magic Flute). In accordance with is now generally known. terms agreed with Schikaneder, Beethoven had In the opera the name Fidelio is assumed by the occupied rooms at the theatre and this arrangement was heroine, Leonore, who disguises herself as a boy and renewed with Baron von Braun, the new lessee. The takes employment under the gaoler Rocco in the prison

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behest to put matters to rights [Des besten Königs Wink disguised herself and intervened. To popular approval where her husband Florestan is kept by his enemy, the the arrival of higher authority, to give Don Pizarro his und Wille/The good King’s behest brings me to you]. Pizarro is taken away and Leonore, at Don Fernando’s prison governor Don Pizarro. She is able to rescue her due and allow Leonore and her husband their freedom He tells the prisoners to stand up, abjuring tyranny and command, frees her husband from his fetters. $ husband from imminent death, as trumpets announce together. proclaiming the brotherhood of man. Rocco pushes Finally the prisoners and people sing praise of the through the crowd, followed by Leonore and Florestan, woman who has rescued her husband [Wer ein holdes ignoring Pizarro’s protests. Don Fernando is Weib errungen/He who has won a beloved wife], Synopsis astonished to see Florestan, whom he thought dead and joined by all in general rejoicing. still more amazed to see Leonore, dressed as a boy. 1 The overture Fidelio, suggesting a new tonal She is dressed as a boy, wearing a dark-coloured jacket Rocco explains what has happened, how Pizarro scheme for the revised opera, provides a more and red waistcoat, dark-coloured breeches, short boots, planned to murder Florestan and how Leonore had Keith Anderson satisfactory introduction to the relatively light-hearted a black leather belt with a copper buckle, with her hair opening scene. tied back. She carries on her back a package of food and in her arms chains, which she leaves by the lodge. Act I She shows Rocco the bill for what has been bought, to The scene is the courtyard of a prison. In the his satisfaction. He hints that he can see what she has background are the main door and a high wall, above in her heart. 3 In a quartet [Mir ist so wunderbar/It is which tree-tops can be seen. In the main door there is a so wonderful for me] Marzelline believes that she has smaller entrance that can be opened for those coming Fidelio’s love. Leonore sings of the danger she is in on foot and to one side is the porter’s lodge. To the left and the faintness of her hope and her awareness of the barred windows of the prison cells can be seen and Marzelline’s feelings. Rocco joins the quartet with his the door of the gaoler’s house, while to the right are understanding that the two are in love. Jaquino, trees set in iron railings and the gate to the castle drawing near, is alarmed at what he sees happening. garden. Marzelline, daughter of the gaoler Rocco, is Rocco promises that he will make Fidelio his son-in- ironing outside the door and the porter Jaquino is law, once the Governor has left for Seville, but love is standing by his lodge, opening the prison-door from not all; money is important. 4 In an aria [Hat man time to time to take packages from people outside. nicht auch Gold beineben/If you have no money] he Jaquino takes the opportunity to broach again the goes on to point out the importance of money: nothing question of marriage. Marzelline, however, will have joined to nothing makes a paltry sum and one who has none of him. He pleads to be heard, but as he goes to only love on the table goes away hungry. Leonore answer the door she reveals her love rather for Fidelio, agrees and now seeks to accompany him, when he goes although she is sorry for Jaquino. He returns to urge into the dungeons, to help him in his work. He tells her her further, but in vain, as he is called again to the door. that no-one is allowed to go there, but then adds that Marzelline remarks that she was happy with Jaquino soon this work will be too much for him and the until Fidelio arrived, but then all was changed. 2 In an Governor must allow him to take help with him. She A libretto for the complete opera is available as PDF files online at www.naxos.com/libretti/fidelio.htm aria [O wär’ ich schon mit dir vereint/If only I were now questions Rocco about the prisoner confined in the This measure is designed to help keep our releases at an affordable price and maintain Naxos’ position as married to you] Marzelline sings of her love for Fidelio deepest dungeon. The man, she is told, has been there leader in the budget-priced market. and how happy she would be in the future she two years and must have great enemies if not great imagines. Rocco greets his daughter and asks whether crimes to answer: for two months he has been ordered The recording of the complete opera with these artists is available on Naxos 8.660070-71 Fidelio is back yet. At this moment Leonore returns. to reduce the prisoner’s food, with only two ounces of

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black bread a day, no light, no straw, nothing more. 7 Leonore sees them go. In a recitative the prisoners have some freedom, since the other one Leonore is able to give him wine to drink. Florestan Leonore declares she has the strength to see the [Abscheulicher! Wo eilst du hin?/Abominable! Where will die. Mollified, Pizarro warns Rocco not to do such thanks her for the kindness she has shown and she prisoner. Rocco approves of Fidelio’s resolution. are you hurrying?] she summons up her courage, a thing again and orders the prisoners to be returned to offers him a piece of bread that she has with her, in Leonore has the strength to bear much for love. continuing with an aria in which she calls on hope to their cells. The prisoners now return, bidding farewell spite of Rocco’s initial reservations. Marzelline admires Fidelio’s kindness and urges her help her in her duty as a loyal wife. As she goes after to the sunlight. Marzelline comments on the sadness of All is ready, and Rocco gives the agreed signal, father to allow Fidelio to accompany him, while the them into the garden, Marzelline comes out of the the prisoners, while Leonore and Jaquino lead them which Florestan realises is the presage of his own latter seeks to go with Rocco immediately, believing house, followed by Jaquino. They are soon joined by back to their cells and Pizarro bids Rocco be about his death. Leonore tries to reassure him. Pizarro appears, the prisoner to be her husband. She pretends love for Rocco and Leonore. Marzelline is rejecting Jaquino’s business, much as the latter shudders at the task before cloaked, telling Rocco not to free Florestan from his Marzelline to gain her purpose. proposals of marriage and Rocco tells him that he has him. chains, as time presses. 0 Pizarro draws his dagger 5 A march is heard, as the main door of the prison other better plans. Leonore then suggests to Rocco that and casts aside his cloak, revealing his identity as is opened and officers and soldiers enter, followed by he allow the prisoners from the upper cells out into the Act II Pizarro, the man Florestan had sought to overthrow [Er the prison-governor Pizarro. He posts sentries on the garden, since the weather is so fine. He is unwilling to 9 The second act opens in a dark dungeon, set deep in sterbe! Doch er soll erst wissen/He dies! Yet first he wall and men on the tower and asks Rocco if he has act without the Governor’s permission, but Marzelline the prison. To the left is a disused cistern, covered with must know]. He makes to stab Florestan but Leonore anything to report. Rocco hands him a letter that warns has seen them talking so long that she thinks Rocco stones and rubble. In the background can be seen intervenes, telling him he must first kill her, him of the impending surprise visit of the Minister, may have done him a favour and he will not mind. various barred openings in the walls, through which Florestan’s wife. The revelation amazes all three who who has heard rumours of arbitrary imprisonment. Rocco tells Fidelio and Jaquino to let the prisoners out stairs are visible, leading down from above and ending hear it, but Pizarro then resolves to kill both of them. Pizarro thinks at once of Florestan, Leonore’s husband: and he leaves, to find Pizarro. 8 In the finale of the to the right, by the door to the cell. There is a lamp Leonore draws a small pistol, threatening him, and at the Minister believes him dead, but if he finds him in first act the prisoners slowly emerge, singing of their burning. Florestan, shackled by chains to the wall, is this moment the trumpet signal is heard, announcing the prison, there will be trouble: now there is one way joy at being again in the open air, [O welche Lust, in sitting on a stone. In a recitative he laments his fate the approach of the Minister. Florestan is saved, and out. 6 In an agitated aria [Ha! Welch ein freier Luft/O what pleasure, in the open air]. An officer [Gott! Welch Dunkel hier!/God, what darkness is Pizarro’s schemes confounded. Jaquino appears, with Augenblick!/Ha! What a moment!) Pizarro sings of the on the wall sees them and goes away again to report the here!), resigned to suffering. In the following aria he officers and soldiers on the steps, announcing the revenge he will now take so that final triumph may be matter, while the prisoners realise they are being recalls earlier happiness, seeming to see an angel, his Minister’s arrival. Rocco calls back to him, telling the his. The soldiers, seeing him, comment on the obvious observed, now talking softly among themselves. Rocco wife Leonore, leading him to freedom in Heaven. He men to bring torches down and escort the Governor importance of the news Pizarro has received, as he comes forward, with Leonore, and he tells her that the sinks down, his face buried in his hands. By the light of away. Leonore and Florestan express their joy, Pizarro talks of death. He calls the captain to him and tells him Governor has given leave for Marzelline’s marriage a lantern Rocco and Leonore are seen descending the his dismay and Rocco his astonishment. As Pizarro to post a trumpeter on the tower to observe the road and for Fidelio to accompany him to the dungeon. He steps, bringing with them a jug and the tools they need. makes to rush away, Rocco signals for him to be from Seville: as soon as they see a coach approaching, tells her what has been planned: the man in the Leonore shudders at the cold. They see Florestan not followed, joins the hands of the couple and hurries with an escort, they must give a signal. Turning to dungeon is to be buried there: Rocco will not murder moving, perhaps dead, but then he moves, to the relief after him. ! Florestan and Leonore sing of their joy [O Rocco, he tells him to hurry and promises him money him, but the Governor will do that himself: they must of Leonore, who joins Rocco in the work of uncovering namenlose Freude!/O indescribable joy!]. if he helps him: it is a matter of murder. Rocco is only dig the grave. He seems to understand Leonore’s the disused cistern. In an aside she declares her @ The scene changes to the parade-ground of the shocked and refuses to kill, as that is not his duty. misgivings, which she explains as not being used to intention of rescuing the prisoner, but then must join castle, with the statue of the King. Soldiers march in Pizarro tells him that he will see to the matter but such work. Seeing her tears, Rocco tells her that he will Rocco in his task. Rocco pauses, to drink from the jug, and form an open square. Then the Minister Don Rocco must hurry to the dungeon where the prisoner he go alone, but Leonore declares that she must see the and Florestan stirs, as Leonore sees. Now he speaks Fernando appears from one side, accompanied by knows of lies and dig a grave there: he himself will use man. Marzelline and Jaquino hurry in, warning Rocco and Leonore sees his face. He seeks to know the Pizarro and officers. People gather, while from the a dagger to do the deed. Rocco adds that death will be that Pizarro is approaching, angry that the prisoners identity of the prison governor, revealed to him by other side Jaquino and Marzelline lead in the prisoners, a release, the dagger will set the man free, while have been allowed out. His rage, however, is dissipated Rocco as Pizarro, and urges the gaoler to send a who kneel before the Minister, whom they welcome Pizarro continues to thirst for final revenge on his when Rocco suggests that they are celebrating the message to his wife Leonore in Seville. Rocco tells him [Heil! Heil sei dem Tag!/Hail! Hail to the day!]. # Don enemy. He goes into the garden, followed by Rocco. King’s name-day, and, as he adds secretly, why not let that this is impossible but when he asks for water, Fernando announces that he has come at the King’s

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CMYK NAXOS NAXOS ‘Naxos strikes gold again with this suberbly cast Fidelio’ (8.660070-71, The Gramophone) Beethoven wrote his only opera Fidelio in the full maturity of his creative powers. Based on a lofty and strongly dramatic theme of freedom, justice, and heroism, the composer’s idealized image of womanhood is to be seen in the married love of the heroine Leonore. This collection of highlights 8.557892 BEETHOVEN: BEETHOVEN: includes the Prisoner's Chorus, an ode to freedom sung by a chorus of political prisoners, Florestan’s hallucinating vision of Leonore come as an angel to rescue him (Gott! Welch’ Dunkel DDD hier!), and the highly melodramatic Finale to Act II in which the rescue finally takes place. Ludwig van Playing Time BEETHOVEN 71:06 (1770–1827) Fidelio, Op. 72 (Highlights) Fidelio (Highlights) Fidelio (Highlights) 1 Overture 6:25 8 Prisoner’s Chorus: 7:04 2 O, wär’ ich schon 3:55 O welche Lust mit dir vereint 9 Gott! Welch’ Dunkel hier! 10:50 3 Mir ist so wunderbar 4:49 0 Er sterbe! 5:12 4 Hat man nicht auch 2:55 ! O, namenlose Freude! 2:45 Naxos RightsInternationalLtd. Made inCanada www.naxos.com/libretti/fidelio.htm librettocanbeaccessedat: A Booklet notesinEnglish Gold beineben @ Heil! Heil sei dem Tag 2:07 www.naxos.com

5 March 2:22 # Des besten Königs 7:54 1999 & 6 Ha! Welch ein Augenblick 3:15 Wink und Wille 7 Abscheulicher! 7:29 $ Wer ein holdes Weib 4:03 Wo eilst du hin? errungen 2005 Nielsen • Winbergh • Moll • Titus • Lienbacher • Pecoraro Hungarian Radio Chorus • Nicolaus Esterházy Sinfonia Michael Halász Recorded at Phoenix Studios, Budapest, Hungary, from 7th to 10th and 14th to 18th November, 1998 Producer: Ibolya Tóth • Engineer: János Bohus • Editors: Mária Falvay and Veronika Vincze 8.557892 Technical Consultant: Eleanor Thomason (K&A Productions Ltd.) • Booklet Notes: Keith Anderson 8.557892 Please see the the booklet for a detailed artist and track list The recording of the complete opera with these artists is available on Naxos 8.660070-71 Cover Picture: Outside the Fort - Set design for Beethoven’s Fidelio, Berlin State Opera, 1935 by Ludwig Sievert (1887-1966) (AKG Images)